His first band, Songs: Ohia, debuted with a limited edition two- song 7” (“Nor Cease Thou Never Now”) on Will Oldham’s label, Palace Records in 1. Soon after, Songs: Ohia moved to Secretly Canadian, where Molina has stayed ever since. Between ’9. 6 and ’0. EP’s, full- lengths (including The Lioness in 2.

Didn’t It Rain in 2. Oneida, Scout Niblett, My Morning Jacket, and Alasdair Roberts (aka Appendix Out). In 2. 00. 3, Molina re- formed his group as the Magnolia Electric Co., and put out what has to have been one of that year’s best rock records, “indie” or otherwise. Since then, he’s released another dozen or so records (again, across the spectrum, length- wise), some as Magnolia Electric Co., and some as Jason Molina. In 2. 00. 9 Magnolia Electric Co. He also released a collaboration with Will Johnson of the Austin, TX band Centro- matic. A fall tour was planned in support of the self- titled Molina & Johnson, but had to be canceled on account of an illness of Molina’s, the particulars of which he prefers not to discuss.

Somewhere along the way, after a lifetime in the American Middle West, Molina moved to London.

When I think of Molina’s music, I think of landscapes, and a perpetual tension between competing vastnesses—the sweep of a valley or a shoreline or a mountain; the interior wilderness of a single spirit or heart. But even an enormous space can be intimate, insular, confined in its infinitude. There’s an image I keep coming back to from the twenty- seventh chapter of Jules Verne’s Journey to the Center of the Earth: Axel and his uncle are many miles underground yet find themselves standing on the shore of a sea, the scene lit brighter and stranger than moonlight by luminous vapors that hover near the ceiling of a cavern so huge and high it might as well be a black sky.

In May 2. I called Molina in London and we spoke for the better part of two hours. In person, he was as affable and generous as his music is moody and allusive—perhaps moreso. Since there was no particular tour or record serving as the occasion for our conversation, I felt free to range widely with my questions. To put it plainly: I asked all the things that I wanted to know.

Well, it’s a cultural study, for sure. Josephine was grounded in the south.

Also, I was re- listening to the very first Songs: Ohia album, and I somehow realized that all—or nearly all—the song titles on the album are place names. I’m not from the Midwest, so I didn’t know this by virtue of, like, recognition, but once the idea occurred to me I began industriously Googling the song titles, and I kept getting maps back for places like Cabwaylingo and Gauley Bridge.

JM: All of those are Appalachian place names, places that I have been and wrote songs and where I grew up and where my family is from. Click Vr Visualizer Download.

JT: You grew up in West Virginia?

JM: Mostly West Virginia. I actually made a list of as many of the major ones as I could come up with, and mines was on there. Let’s see what else— stars, flame—

JM: —The moon, the horizon—

JT: —The dark, the desert, electricity—

JM: Crossroads? Okay, it’s on there now.

I guess you don’t have to go either/or on that.

JM: I think of a song as something you build. It’s not something that you do, it’s not something that comes out of your gut. It’s like you have bricks, you have mortar, you have a trowel – You don’t have a building plan yet, you just have all the raw materials and you just start building it and you hope to god you get something good. But as far as the imagery goes, I’ve always treated it as a rebus. These images all fit into a storyline that is completely open to the interpretation of anybody who listens to it. It’s like the dawn coming on, or dusk.

But when I say a mule, I really mean a mule, and when I say the horizon I really mean the horizon.

JT: I love this concept of the rebus. I wonder how that extends from individual songs to building albums, and to what I’ve heard you refer to elsewhere as “song cycles.”

JM: Well, it’s songwriting algebra, I find one angle and that is usually just a song or a riff and I know that it’s going to be the cornerstone for the entire record.

One seems to be very interesting and I try to pursue whatever it is that is interesting about that song, and that’s the way I weave the tapestry of all the lyrical themes for each song. I’ve written every single record to be one piece. There should be a side A and a side B.

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